Театр OSF в Ашленде завершает сезон шедеврами: от дерзкой «Эммы» до трогательной мюзикла «Прилетели издалека»

The following two reviews will complete my coverage of the four OSF plays I recently saw over the same weekend in Ashland (that included my previous reviews of “Henry IV, Part One” and “A Midsummer Night’s Dream” in last week’s Urge). So now, let me continue: “Emma” is an outrageously bold and clever, madcap new play created by Kate Hamill and based on the beloved novel by Jane Austin. Directed with insightful flair by Meredith McDonough, it’s an over-the-top, delightfully quirky “tribute” to the determined resilience of women to pursue their rights of personal power (especially in the restrictive era of Georgian-Regency England) and how (sometimes) that relentless belief in self can also result in “not seeing the forest for the trees” when it comes to becoming so focused on one goal that even the closest, obviously “real,” supportive, romantic relationship that’s been there all along has been ignored. That is basically the bottom line for the character of Emma Woodhouse (played with wonderful wit and timing) by OSF’s Alejandra Escalante as she seeks validation of who she is and what she wants to achieve as a “matchmaker.” Something she convinced herself was her calling after her introduction of a couple later resulted in their getting married. And, that marriage celebration is what kicks off OSF’s “Emma” in the Allen Elizabethan Theatre, setting the approach to the production, with a burst of colorful energy, music and behavior that promises more exaggerated fun to come, including some famous, contemporary pop music with decidedly non-Austin-era choreography by the characters. In other words, expect ongoing screwball, comedic shenanigans from all of the cast throughout, all visually emphasized by vivid, period costumes, hair/makeup, and all of the scenic, lighting and sound choices that gave the action a “cartoon-style” framework. But, something that never got in the way of Emma’s stubborn quest to achieve her dauntless pursuit of matchmaker dream. Just to prove to the patriarchs around her, that she had the intelligence and skill to do it. Of course, all of this came with “I Love Lucy” chaos, her constant good intentions often undermined with questionable choices (and ways) of getting couples together with her “matchmaking skills,” all constantly in the midst of the other characters’ comedic struggles to deal with both Emma and their own relationships — in increasingly hilarious fashion. And, they notably included Conner Neddersen (a charmer in every way) as Mr. Knightley, Emma’s supportive adversary (who eventually turns out to be her own “perfect match”); Royer Bockus as the endearingly klutzy Harriet Smith, Emma’s initial matchmaking protege who (not unexpectedly) turns out to be more “challenging than expected” when it comes to finding her a potential mate. And sometimes, when things aren’t working out for Emma’s best intentions with her, and everyone else in her life, actress Escalante will suddenly “break the fourth wall” and chat with the audience about their playwright who put them all in this situation. Or whatever else she might have to say, before “reverting” back to Emma and moving on with the action. Obviously, none of the characters take themselves too seriously, and sometimes go to absurd extremes to share it. And they include a variety of relationships (and class positions) among Emma’s family, friends and acquaintances. Each portrayed with endless verve and a sense of the nonsensical ridiculous that their roles often call for. They feature the previously mentioned Conner Neddersen as Mr. Knightley and Royer Bokus as Harriet Smith, as well as Tyrone Wilson as Mr. Woodhouse and Mr. Weston; Erica Sullivan as Mrs. Weston; Kate Hurster as Miss Bates; Nathan Karmik as Frank Churchill and Robert Martin; Kiki deLohr as Jane Fairfax; Rhea Bradley as Mrs. Elton; and Kevin Kennerly as Mr. Elton. And everyone has their special moments to capture the spotlight and deserve their own applause. More kudos to director McDonough for orchestrating this delightful, crazy quilt of a production, as well as to costume designer Lex Liang; lighting designer Jackie Fox; composer and sound designer Palmer Hefferan; choreographer Emily Michaels King; and voice and text director Jill Walmsley. Together you created a wacky take on a classic Austin romance that’s sure to entertain audiences of all ages! And, luckily that entertainment continues in Ashland through Oct. 9, so I highly recommend making your plans to get there and enjoy this delightful production before it closes. To wrap up my reviews, let me close with my heartfelt reaction to one of the company’s finest productions ever staged in the Bowmer: “Come From Away,” an extraordinary musical based on true events following the horrific air attacks of Sept. 11, 2001 when all international flights in the air were immediately rerouted from landing at their original airports in the U.S. to other “safer” sites. Therefore, that meant that 38 of those planes were now diverted to land in Gander, Newfoundland at its international airport. On an island locals called “The Rock,” the population there before all of those planes arrived, was under 10,000, which meant, that suddenly, the unexpected arrival of those planes and their combined number of around 6,500 passengers and crew, all but instantly doubled Gander’s population. For how long, nobody knew. But for the locals, it meant that they would do their best to make sure that their “visitors” felt welcome during their forced stay. And they’d make sure to try and meet everyone’s (including 19 animals) basic needs for housing, food and more. And, this was no easy task to accomplish, dealing with people from all around the world who were suddenly stranded in a strange, if welcoming, place. And were still in the midst of dealing with their own emotional reactions to the unthinkable tragedy that had just taken place. However, the focus for the musical is on the individual and collective members of the pilot, crew and passengers of one American Airlines plane, and how they interacted with both each other and the “islanders” whose warm hospitality (and music) tried to lift their spirits. While they (and the rest of the world) were trying to cope with lives that would never be the same. And the characters (based on real people and their personal experiences, as well as some combining others) are each brought to vivid life by OSF’s brilliant ensemble of intrepid actors and musicians. All delivered with heart, compassion, (and dashes of sly humor) while sharing it. With every actor perfectly double-cast by the show’s inspired director, Laurie Woolery, they featured Royer Bokus as Bonnie/Martha; Imani Briissett as Bob/Muhumuuza; Teri Brown as Hannah/Margie; Kiki deLohr as Janice/Flight Attendant; Al Espinosa as Nick/Doug; Victoria Frings as Beverley/Annette; Justin Huertas as Kevin T./Garth; Kate Hurster as Diane/Crystal; Nathan Karnik as Kevin J./Ali; David Kelly as Claude/Derm; Amy Lizardo as Beulah/Delores and Jonathan Luke Stevens as Oz/Joey. And the musicians who wonderfully played the eclectic score included Reed Bentley, drums; Aharon Wheels Bolsta, bodhran/percussion; Perry Cowdery, guitar; McKinley Foster, guitar/mandolin/bouzouki; Will Lowry, guitar; Patrick Manville, bass; Logan Mitchell, whistles/Irish flute/Uileann pipes; Abigail L. Wilensky, fiddle; and conductor/keyboard/accordion, Lizzie Webb. And, more essential, production elements were created by music director Angie Benson; sound designer Val Turos; scenic designer Efren Delgadillo Jr.; lighting designer Pablo Santiago; costume designer Melissa Torchia; fight /intimacy directors U. Jonathan Toppo and Rocio Mendez; and voice and text director Micha Espinosa. With “Welcome to The Rock,” being the rousing, memorable, signature song that embodied Gander, Newfoundland’s unselfish kindness and hospitality to people who arrived as frightened strangers on planes, but departed with fond memories as friends. The show’s poignant finale (led by Kelly’s Claude) was both sung and spoken by the company. It brings the inspiring story “full circle, 10 years after the life-changing events of Sept. 11, 2001 as the characters reflect on the past.” Each “sharing personal stories and celebrating the enduring connections formed in Gander that honor the community, resilience, shared humanity and love found there amid the loss.” An unbreakable bond forged over their brief time together that will never be forgotten. And, the enthralled audience rose as one to its feet to also celebrate OSF’s powerful performance of “Come From Away” with their own shared tears, cheers and love for such an unforgettable experience. And, can still be shared by you until it ends its run on the closing day of the OSF 2026 season on Oct. 24. So, don’t miss your chance to see this marvelous musical by going to www.osfashland.org where you can choose the date and seating in the Bowmer. And see the show’s lively trailer to entice you further. Well, now it’s time for me to also close my final review of the four outstanding OSF productions I saw in Ashland that included “Henry IV, Part One,” “A Midsummer Night’s Dream,” “Emma” and “Come From Away.” But they’re just a few of a number of intriguing shows that will continue their runs into October. Be sure and check out “The Taming of the Shrew,” “Yellow Face,” August Wilson’s “King Hedley II” and “Smote This, A Comedy About God … and Other Serious ***t.” You’re sure to find another exciting 2026 production to add to your theater-going schedule. So, hurray for OSF, where exceptional theater always awaits you in Ashland, Oregon.